-eve of destiny-
Mana Interview - Dix Infernal
Orkus, March 2005
translated by Geisha
+In their own words+
Moi dix Mois
Dix Infernal (the music)
I created this track in order to describe the pit of hell. It is in its entirety a mix of five different sounds. What we wanted to express with it, however, remains a secret.
+La Dix Croix+
This version differs from the live version. In the intro, a harpsichord abruptly appears. Besides, the drums are introduced at the climax of the intro and about halfway through two beats change completely and at high speed. To this – appropriately matched – two calm and melodic guitars that harmonise with each other and the fast harpsichord are added. That’s already pretty thrilling. The second harpsichord that subsequently cuts in matches perfectly what the notes are trying to express. A mood of sadness is being created.
+Front et Baiser+
This is the track with the most brutal progression. It unfolds in alternation, two fast beats cut in and then the guitars are introduced; the build-up develops as if floating, like an illusion until abruptly the drums cut in. That’s the most emotional moment. Finally, after the drum roll – the “musical moonlight” – comes the outcry of the guitar(s) as if howling at the moon. I think this track is (musically) very headstrong but this is somewhat tempered by the melodic vocals.
The approach is the following: where guitars drill into the auditory canal in semi-quavers, from the left the two main themes and from the right the two harmonising octaves approach. I think in order to be able to really comprehend this track one has to listen to it through headphones with separate speakers. Then it continues with four harmonic parts. We experimented with this technique for the first time on this track. We hadn’t done that before. The progression of the modulation and the melody make this part of the song the most listenable. Listen closely, how again and again at various points throughout the song a harmonic and a doubting voice cut in. After the final modulation the song, I find, becomes painfully distorted through a rather high, screeching sound but it is precisely this drawn out, high screeching voice that brings the whole to a lustful conclusion.
Amongst the songs I have composed this is a rather simple one but precisely this simplicity skilfully shows the development of the track. Compared to other songs the approach is different, especially the guitars are more subdued, polished and milder. Did you notice that the main melody appears three times but only the second time the melody of the song is completely different (even though the chords are the same)? This is how the mood is created. Somehow this melody always reminds me of the past. If you disregard the rhythm, the organ and the piano create a real spectacle before your eyes. In its way it reminds of a requiem and therefore transports the listener into such a sad scene. One could think that this track is the only one on the album to express oppressive sadness so powerfully.
This is the only slow number on the CD. A vehement approach isn’t everything – this is the only track on the album with clean guitar cuttings and here the distorted guitars accompany the deep bass lines with angry uproar as well as calm interludes. As for the mood: the lyrics recall memories of everyday life. This is a moment that makes the heart tighten in your chest. The theme “loneliness” is being expressed to the maximum and with all possible means in a way few musical pieces do.
This is the only Industrial arrangement on the album. In this approach the drums strike four times. If you wanted to compare it to other hits, there are certain points that remind of the Eighties and the way in which the organ of the main melody cuts in three times recalls the Progressive Rock of the Seventies. The mood is built up through the blending of two fast playing harpsichords and four massive bass drums, which hold against it with breathtaking, ambiguous quaver cascades. We tried to use the bass in this track. Actually, there are three such basses and the sound strikes right into the heart. Because normal basses are also used, four can be heard altogether. The guitars cut in randomly from the left and from the right, which creates an effect of tension. The timbre, which is created by the metal snare drum, infuses the song with spirit. Actually, it may be that this track has left its very own impression on the album.
+Gloire dans le Silence+
The mood of the song’s melody is created through the interplay of the opposites of left and right (i.e. the way in which the music comes out of the loudspeakers). Looking at the A and B melody of the song, there are distortions and a very violent ending. Additionally, two screaming voices that suddenly break away from the main voice give depth to the whole piece. The repetition of the lyric parts also differs in its structure between the first and the second time.
Through its use of repeated, light harpsichord melodies and tremolo strings, which transport a feeling of loss, this arrangement conjures up the image of a baby’s cradle. Its peaceful emotions make this piece a very special highlight of the album. When I created this track I shaped the innermost of my soul into music. Today, I cannot fully express anymore what exactly happened there.
From the organ melody, vehement blast beats and guitar semi-quavers develop abruptly to include a choir. The goal is to blend speed and the heaviness of the impact. This is a dangerous piece when played live because you are head banging at a fast rate, which can cloud your senses.
This is the only track which is opened by drums. The intro with the piano has a hidden part that sounds metallic as if created by a snare drum. This can probably only be heard if you sit opposite the boxes and listen closely. The subsequent second beat sounds like breaking glass and so I could imagine that this passage creates some discomfort. Yes, it’s almost unbearable. The final cut-out and the deep plunging harpsichord as well as the disharmonic piano carry the certainty of a deeper meaning.
Truthfully, this is slightly different from the single version. Well, for example, you have probably noticed that the strings are missing from the intro. It was also mixed differently. The guitar was added to the organ and the vocals that are cutting in. You should specifically listen out for the way in which the second organ, which bursts forth in the second beat of the interlude, is integrated.
+Dix est Infini+
You can’t leave this world already, my beloved!